{"product_id":"eighteenth-century-portraits-import","title":"EIGHTEENTH CENTURY PORTRAITS - THERESA BERGANZA (2 CDS)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/DESCRIPTION_WITH_WORLD_1_d9254874-1b5f-48ee-852d-4074a16878e6_480x480.png?v=1595264382\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eTo complement a 2CD set of Rossini and Spanish songs entitled ‘Brava Berganza’ (482 6397), Eloquence has also reissued more buried treasure from the Decca discography of Teresa Berganza. The compilation takes its title from a 1961 album made, like the Rossini arias on ‘Brava Berganza’ with Sir Alexander Gibson conducting the orchestra of the Royal Opera House, Covent Garden where the mezzo-soprano had made a sensational debut the previous year as Rosina in ‘Il barbiere di Siviglia’.\u003cbr\u003e\u003cbr\u003eThese portraits are of both heroines and trouser-role heroes, including Gluck’s ‘Orfeo’ and Cherubini’s ‘Medea’ as well as arias from an earlier generation by Pergolesi and Handel. In all of them there may be appreciated her captivating stage presence and a wide-eyed, coltish eagerness of characterisation. Back in London’s Kingsway Hall in 1962, she set down seven Mozart arias with the supple accompaniment of John Pritchard and graced with sensitive obbligato contributions from Gervase de Peyer (in ‘Parto, parto’ from ‘La clemenza di Tito‘) and Geoffrey Parsons in the concert-aria ‘Ch’io mi scordi di te‘. She encompasses with equal success the impetuous ardour of the priapic page in ‘Figaro’ and the contrasting sisters in’ Così fan tutte’.\u003cbr\u003e\u003cbr\u003eAlmost twenty years later, Berganza recorded more concert arias with undimmed eloquence, intensity and impeccable Mozartian style. The collection is completed by Haydn’s tragic cantata ‘Arianna a Naxos’, partnered at the piano in 1977 by her husband and long-standing accompanist, Félix Lavilla. Though the interpretation had to wait until 1986 for a first issue, it is distinguished by a classical nobility of style as well as the dramatically lived feeling for text and for the heroine’s predicament that made Berganza ‘the Carmen of the century’ according to no less than Herbert von Karajan.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/REVIEWS_CS_WORLD_7ad42b8b-2188-414f-9c17-0e66da4d836d_480x480.png?v=1595264361\" alt=\"\"\u003e\u003cbr\u003e\u003cem\u003e‘The Berganza voice […] is surely one of the loveliest and most flexible to come along since the war. Here she gives evidence of a very firm grip on classical style … ‘O del mio dolce ardor’ […] is spun forth with great tranquillity: the vocal texture, the relaxed but never slack attack, are exactly right.’ High Fidelity (Eighteenth-century Portraits)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e‘In Berganza’s work there are no stylistic mannerisms. She tears into the music like a violinist launching a cadenza, and her extraordinary gifts make it all the more natural sounding, giving her temperament its extroverted way… Cherubino’s songs are done to a turn.’ High Fidelity (Mozart Arias)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_1_81beb09d-4c29-4149-bf73-0d3740fd1d73_480x480.png?v=1595264371\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eCD 1\u003cbr\u003eWOLFGANG AMADEUS MOZART\u003cbr\u003eLe nozze di Figaro, KV 492:\u003cbr\u003eNon so più cosa son, cosa faccio\u003cbr\u003eVoi che sapete\u003cbr\u003e\u003cbr\u003eLa clemenza di Tito, KV 621:\u003cbr\u003eParto, ma tu ben mio\u003cbr\u003e\u003cbr\u003eCosì fan tutte, KV 588:\u003cbr\u003eTemerari! Sortite! … Come scoglio!\u003cbr\u003eE amore un ladroncello\u003cbr\u003eEi parte … Per pietà\u003cbr\u003e\u003cbr\u003eCh’io mi scordi di te, KV 505\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003eJohn Pritchard\u003cbr\u003e\u003cbr\u003eOmbra felice … Io te lascio, KV 255\u003cbr\u003eMisero me … Misero pargoletto, KV 77\u003cbr\u003eGiunse alfin il momento … Al desio, di chi t’adora, KV 577\u003cbr\u003eSe ardire, e speranza, KV 82\u003cbr\u003eConservatevi fedele, KV 23\u003cbr\u003eWiener Kammerorchester\u003cbr\u003eGyörgy Fischer\u003cbr\u003e\u003cbr\u003eCD 2\u003cbr\u003eCHRISTOPH WILLIBALD GLUCK\u003cbr\u003eOrfeo ed Euridice:\u003cbr\u003eChe farò senza Euridice?\u003cbr\u003eChe puro ciel, che chiaro sol\u003cbr\u003e\u003cbr\u003eAlceste: Divinités du Styx\u003cbr\u003eParide ed Elena: O del mio dolce ardor\u003cbr\u003e\u003cbr\u003eGIOVANNI BATTISTA PERGOLESI\u003cbr\u003eLa Serva Padrona: Stizzoso, mio Stizzoso\u003cbr\u003e\u003cbr\u003eGEORGE FRIDERIC HANDEL\u003cbr\u003eGiulio Cesare: Piangerò la sorte mia\u003cbr\u003e\u003cbr\u003eGIOVANNI PAISIELLO\u003cbr\u003eNina, o sia la Pazza per Amore: Il mio ben quando verrà\u003cbr\u003e\u003cbr\u003eLUIGI CHERUBINI\u003cbr\u003eMedea: Medea! O Medea! … Solo un pianto\u003cbr\u003eOrchestra of the Royal Opera House, Covent Garden\u003cbr\u003eAlexander Gibson\u003cbr\u003e\u003cbr\u003eFRANZ JOSEPH HAYDN\u003cbr\u003eArianna a Naxos – Cantata, Hob.XXVIb:2\u003cbr\u003eFélix Lavilla, piano\u003cbr\u003e\u003cbr\u003eTeresa Berganza, mezzo-soprano\u003c\/p\u003e","brand":"DECCA","offers":[{"title":"Default Title","offer_id":32264737783895,"sku":"028948258369","price":22.39,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/71fUHx9a7NL._SL1200.jpg?v=1595523953","url":"https:\/\/classicselectworld.com\/de-de\/products\/eighteenth-century-portraits-import","provider":"ClassicSelect World","version":"1.0","type":"link"}